Antonyms

We use the term antonyms to indicate words of the same category of parts of speech which have contrasting meanings, such as hot — cold, light —- dark, happiness — sorrow, to accept — to reject, up — down.

If synonyms form whole, often numerous, groups, antonyms are usually believed to appear in pairs. Yet, this is not quite true in reality. For instance, the adjective cold may be said to have warm for its second antonym, and sorrow may be very well contrasted with gaiety.

On the other hand, a polysemantic word may have an antonym (or several antonyms) for each of its mean ings. So, the adjective dull has the antonyms interesting, amusing, entertaining for its meaning of "deficient in interest", clever, bright, capable for its meaning of "deficient in intellect", and active for the meaning of "deficient in activity", etc.

Antonymy is not evenly distributed among the categories of parts of speech. Most antonyms are adjectives which is only natural because qualitative characteristics are easily compared and contrasted: high — low, wide — narrow, strong — weak, old — young, friendly — hostile.

Verbs take second place, so far as antonymy is concerned. Yet, verbal pairs of antonyms are fewer in number. Here are some of them: to lose — to find, to live — to die, to open — to close, to weep — to laugh.

Nouns are not rich in antonyms, but even so some examples can be given: friend — enemy, joy — grief, good — evil, heaven — earth, love — hatred.

Antonymic adverbs can be subdivided into two groups: a) adverbs derived from adjectives: warmly — coldly, merrily -— sadly, loudly — softly, b) adverbs proper: now — then, here — there, ever — never, up — down, in — out.

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Not so many years ago antonymy was not universally accepted as a linguistic problem, and the opposition within antonymic pairs was regarded as purely logical and finding no reflection in the semantic structures of these words. The contrast between heat and cold or big and small, said most scholars, is the contrast of things opposed by their very nature.

In the previous chapter dealing with synonymy we saw that both the identity and differentiations in words called synonyms can be said to be encoded within their semantic structures. Can the same be said about antonyms? Modern research in the field of antonymy gives a positive answer to this question. Nowadays most scholars agree that in the semantic structures of all words, which regularly occur in antonymic pairs, a special antonymic connotation can be singled out. We are so used to coming across hot and cold together, in the same contexts, that even when we find hot alone, we cannot help subconsciously registering it as not cold, that is, contrast it to its missing antonym. The word possesses its full meaning for us not only due to its direct associations but also because we subconsciously oppose it to its antonym, with which it is regularly used, in this case to hot. Therefore, it is reasonable to suggest that the semantic structure of hot can be said to include the antonymic connotation of "not cold", and the semantic structure of enemy the connotation of "not a friend".

It should be stressed once more that we are speaking only about those antonyms which are characterized by common occurrences, that is, which are regularly used in pairs. When two words frequently occur side by side in numerous contexts, subtle and complex associations between them are not at all unusual. These associations are naturally reflected in the words' semantic structures. Antonymic connotations are a special case of such "reflected associations".

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Together with synonyms, antonyms represent the language's important expressive means. The following quotations show how authors use antonyms as a stylistic device of contrast.

How far that little candle throws his beams! So shines a good deed in a naughty1 world.

(From Merchant of Venice by W. Shakespeare. Act V, Sc. I)

... But then ray soul's imaginary sight

Presents thy shadow to my sightless view,

Which like a jewel hung in ghastly night,

Makes black night beauteous and her old face new.

(From Sonnet XXVII by W. Shakespeare)

Welcome joy, and welcome sorrow,

Lethe's weed and Hermes' feather,

Come to-day, and come to-morrow,

I do love you both together!

I love to mark sad faces in fair weather;

And hear a merry laughter amid the thunder;

Fair and foul I love together.

(From A Song of Opposites by J. Keats)

... The writer should seek his reward in the pleasure of his work and in release from the burden of his thought; and indifferent to aught else, care nothing for praise or censure, failure or success.

(From The Moon and Sixpence by W. S. Maugham)

They [the Victorians] were busy erecting, of course; and we have been busy demolishing for so long that now erection seems as ephemeral an activity as bubble-blowing.

(From The French Lieutenant's Woman by J. Fowles)2